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From Here to Eternity is the first full length album from Canadian composer Kyle Bobby Dunn since his 2014 long play, Infinite Sadness.
The use of processed guitar and his passion for cinematic swells reaches new realms that are markedly more ominous and dense than his previous long play. Kyle Bobby Dunn also recruited prominent ambient composers and a handful of his favorite musicians to arrange their own instrumentation for several works on this release that add multiple layers of mystery and intrigue of the human mind and heart. Artists that contributed to this effort are: Benoît Pioulard, Simon Scott, Loscil, Pan-American, Wayne Robert Thomas, Isaac Helsen, Mark Nelson, Robert Donne, Maryam Sirvan, and Michael Vincent Waller.
Kyle Bobby Dunn wanted this album to be very much about the eternal conflict with all human emotions and life circumstances and to somehow go even further than the concepts left behind on Infinite Sadness. The moods and sounds range from angelic choral elements to motion picture soundtrack epics; permeating the skeletal system of the listener with a sense of boundaries and mortality. There are also moments that capture the dynamics of the artist performing in the live setting perfectly and were engineered meticulously by Matt Rogalsky and Kyle Bobby Dunn himself. Truly a difficult album of unending loss, confusion, pain, identity, disease and even death, but also some of the most reflective and warm moments of his career to date.
Releases May 3, 2019 on Past Inside the Present.
Akira Rabelais’ years-in-the-making new album CXVI features collaborations with Harold Budd, Ben Frost, Biosphere, Kassel Jaeger and Stephan Mathieu, among others. It unfurls a quietly breathtaking, dreamlike sequence of events where early music meets a prism of shoegaze, ASMR, classical and textural sound design - huge recommemdation if yr into Felicia Atkinson, the GRM, Morton Feldman, Stephan Mathieu, Deathprod, Harold Budd...
Set to be received as Rabelais' magnum opus, CXVI finds the Hollywood-based composer challenging his usual working methods, pushing himself to refresh binds with longterm collaborators such as Harold Budd and Stephan Mathieu and forge new relationships with like-minded craftsmen such as Geir Jenssen (Biosphere), while also finding a new vocal muse in Karen Vogt of Heligoland, and also coaxing the recorded debuts of his friend Mélanie Skribiane, and filmmaker/photographer Bogdan D. Smith. The result of their time-lapsed endeavours is a record of divine subtlety and poignant patience, rendered with a mirage-like appeal.
Opener "Which Alters When It Alteration Finds," beautifully segues from a prickly bouquet of keys and lovebite-distortion penned with Ben Frost to a reverberant, spine-freezing piano coda from Harold Budd, before "Which Alters When It Alteration Finds" smokily gives way to the sylvan shadowplay of the album's masterful centerpiece, "Star to Every Wandring Worth's Unknown," where Mélanie Skribiane reads from Max Ernst's "la femme 100 têtes" against an exquisite veil of strings and keys realized by Akira with the GRM’s Kassel Jaeger a.k.a. François Bonnet.
The 3rd part of the album only becomes more sparse and isolationist, as Karen Vogt's plainsong gives way to the tremulous, icy timbres of Akira's processed guitar strokes, originally written for Cedrick Corliolis' Tokyo Platform soundtrack, before the final side of "If Error and Upon Me Proved" finds Akira pushing Geir Jenssen’s (Biosphere) synths into the red, emphasizing a romantic soreness that turns into crushing noise, before Bogdan Smith's whispered vocal melts into an ancient, arcane air inscribed to 78rpm vinyl by Stephan Mathieu and then sweetened, re-incorporated by Akira as the album's stunning closing passage.
Riddled with bedevilling detail and utterly timeless in its scope, CXVI is a disorientating opus you’ll want to undergo over and again, for our money one of the great quiet albums of recent years.
More information can be found here.
It took more than just some time and imagination to believe that Carte Blanche, this piece of astonishing contemporary music by some of the most talented and able musicians of the international avant-circuit, could be realized. Karkhana, a highly explosive mostly Middle Eastern/Mediterranean ensemble -- Sam Shalabi (Land Of Kush, Shalabi Effect, Dwarfs Of East Agouza), Sharif Sehnaoui ("A" Trio), Michael Zerang (Peter Brötzmann, Hamid Drake, Jaap Blonk, Vandermark, etc.), Mazen Kerbaj ("A" Trio), Maurice Louca (Dwarfs Of East Agouza), Tony Elieh, Umut Caglar (Konstrukt) -- is weaving a tapestry of sound for Egyptian songstress Nadah El Shazly's voice to slide deep into. On the other side, two grand seigneurs of underground, ex-Sun City Girls and Rangda guitar whirlwind Richard Bishop and W. David Oliphant (Maybe Mental) play it loud. Far Eastern post-industrial. Very heavy, sharp, and crystal clear. Ripe. Carte Blanche will be released as a one-time pressing. It is released as a part of Unrock's Saraswati Series. Vinyl cut by Peter Koerfer at Ivory Tower. Extra-heavy deluxe cover, printed cardboard insert. 140 gram vinyl.
Agora is Christian Fennesz's first solo album since Mahler Remixed [Touch, 2014] and Bécs [Editions Mego, 2014]. Fennesz writes: "It's a simple story. I had temporarily lost a proper studio workspace and had to move all my gear back to a small bedroom in my flat where I recorded this album. It was all done on headphones, which was rather a frustrating situation at first, but later on it felt like back in the day when I produced my first records in the 1990s. In the end it was inspiring. I used very minimal equipment; I didn't even have the courage to plug in all the gear and instruments which were at my disposal. I just used what was to hand."
Agora will be released March 29, 2019 on Touch.